Review: Game of Thrones, Season 7, Episode 5, “Eastwatch”

This review contains SPOILERS for the fifth episode of Season 7 of Game of Thrones entitled “Eastwatch”, and for all episodes preceding it, and for the A Song of Ice and Fire series of books by George R.R. Martin, up to and including sample chapters from The Winds of Winter.

Every so often in Game of Thrones, there’s an episode which is bound to slip under the radar, usually due to the fact that it follows a bombastic extravaganza such as “The Spoils of War”. Hence it is the highest praise that this week’s episode, the somewhat insipidly titled “Eastwatch”, is probably Thrones’s best ‘quiet episode’ since Season 3’s “Kissed by Fire”. Indeed, in terms of the sheer magnitude of the episode, it probably de-thrones “Kissed by Fire”, being an episode full of massive revelations and some of the most realistic dialogue the show has seen this season. It proves that, aside from an occasional over-reliance on humour, hell, this Dave Hill guy can write.

“Eastwatch” is a significant improvement on Hill’s three previous contributions to the show: Season 5’s “Sons of the Harpy”, where he only wrote three-quarters of a script, Season 6’s “Home”, a solid if occasionally baffling episode, and the creation of an irritating child known as Olly. Yes, it does feature some Hill-esque leaps of logic, but these can be attributed to Benioff & Weiss’s story arc more than anything else. In some regards, “Eastwatch” is an extended teaser to next week’s hotly anticipated “Episode 66” (love the title), but it stands up really well on its own, with a focus on ‘getting the gang together’, heist-style, for Jon Snow’s Stupidest Plan Ever™.

I expected Jaime and Bronn to end up being captured by Daenerys, so I was both surprised and somewhat baffled when they suddenly turned up coughing and spluttering on a riverbank and managed to stagger back to King’s Landing. Nonetheless, I think the alternative storyline would have been somewhat predictable – and hey, I’m not complaining about Jaime’s survival. It has become clear to Jaime that Cersei cannot win the war ahead, which he’s definitely correct about, but she refuses to listen, with Lena Headey channeling a strange, irrational version of Tywin Lannister. As always, Jaime and Cersei’s scenes are a delight to watch, but the real treat this week was that Jaime had – wait for it – actual character development.

At the battlefield, Dany burns Randyll Tarly and his son Dickon alive. I have to apologise for my initial disdain for Dickon – yes, his head is too small for his massive shoulders, but that doesn’t change the fact that: a) Tom Hopper played the role really well, and b) he went out like a champ. A stupid champ, perhaps, but a weirdly endearing one. And I never thought I’d say this, but I was sad to see Randyll Tarly go, come the end. This was also Matt Shakman’s finest moment of the episode; those two burning pyres in front of the kneeling Lannister men is something I fully expect to come up on the Beautiful Death poster.

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Over on Dragonstone, Jon touches Drogon – not as thrilling as it might have been, since it was an obvious consequence – but still an interesting scene nonetheless because of the implications about his parentage (more on that later). Also, Jorah turns up. The scene was shot a bit strangely if you ask me – making Dany and Jorah seem like long-lost lovers rather than old friends, though Ser Friendzone lived up to his name when Dany hugged him. I’m finally starting to like Jorah, which, coupled with what seemed like a very fatalistic reunion with Dany, makes me think he’s almost certainly going to die in the next episode. And to be honest, that might be the right choice. Once he’s had a heart-to-heart with Jon about Lord Commander Mormont, I think Ser Jorah’s arc will have reached its natural conclusion.

Meanwhile, Tyrion and Varys have a heart-to-heart in the throne room. It’s a really good scene for both Peter Dinklage and Conleth Hill, with some pithy dialogue, but in the end, it fails because of a mentality of ‘telling instead of showing’. One of the areas where the Thrones writers frequently fail is in that they think their audiences are dumb; in their world, understatement is a dying art. We could have gained so much more from having the meaning of this scene injected into the performances of Dinklage and Hill than having it spelled out. But Varys got screentime, so that’s a good thing.

The best section of the episode for me was the portion taking place in King’s Landing, with the Davos/Tyrion buddy team. I was surprised that Davos seems so jovial about the man who killed his son, but that really speaks in testament to the strength of his character and the depth of his belief about the living dead. But the Davos and Tyrion buddy cop drama is fantastic. Both of them then head off to their separate meetings with Gendry and Jaime respectively. It’s always pleasing when the writers up the pace, because I didn’t think we were going to see the Jaime-Tyrion reunion until the next episode, at the very least, but in the end, it was pretty anti-climactic. Based on this, I’m almost certain that Jaime and Tyrion are going to meet again by the end of the season, probably in the finale, for an extended period of time. Meanwhile, Davos heads down to a forge to meet Gendry, because where else is he going to be. Having seen Joe Dempsie’s name in the credits, I wasn’t surprised by his appearance. I’ve always liked Gendry, even if I’m not his biggest fan, and my feelings of hype only increased when he picked up the warhammer. The warhammer! We’re in for some good times ahead, I think (providing he doesn’t die in Episode 6).

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The King’s Landing section ends with a very Dave Hill scene; some gold cloaks come to confront Davos, who turns them away with bribes and fermented crab. Now, obviously, this is meant to make a point about the corruption and greed that pervades King’s Landing… nah, actually, it isn’t. It was a fun scene, but nothing to write home about. And I was glad to see that Gendry didn’t bother going along with Davos’s ruse about him being some bloke called ‘Clovis’ (gods, what a stupid name) when they got back to Dragonstone. It allows to see the Ned/Robert dynamic as it must have been, bastard and bastard. Davos, meanwhile, drops the best line of the episode – “nobody mind me; all I’ve ever done is live to a ripe old age.” I swear, if they kill off Davos, someone at HBO is getting beheaded.

Also, by the way, Cersei’s pregnant. I’m not sure I believe that, because it seems a little late in the game to be introducing a baby to the mix. Also, that would go against Maggy the Frog’s prophecy (though if the baby is born, that could be intriguing in itself because it means Maggy’s prophecy was utter bullshit, which opens up some very interesting possibilities). And if this child is born to Cersei and Jaime… poor kid. You saw what happened to the last three.

(On this note, I think a baby is only possible if GoT implements in a time-skip of a year between Seasons 7 and 8. This might sound far-fetched, but I can see it happening – the war of men and the Others reaches a stalemate, and we end up with this.)

Winterfell was the least interesting part of this week’s episode, feeling somewhat detached from the main plot. Littlefinger’s plotting something, most likely some plan to put Sansa on the throne instead of Jon, and it seems that he intended for Arya to find the letter he left in his bed. We also get a really creepy shot of him leering from behind a pillar. Other than that, though, it’s most uneventful in the castle, though Maisie Williams and Sophie Turner have really great screen chemistry. Which isn’t that surprising when you think about, though I imagine that Sansa/Arya scenes will make up 90% of this season’s blooper reel.

In Oldtown, Gilly drops the FUCKING BOMBSHELL TO END ALL BOMBSHELLS, and Sam just brushes it off, ranting about Maester Somebody and his 17,000 shits. He decides to leave Oldtown in the end, since the war in the North is more important. I imagine we’ll see him at Winterfell by the end of the season, possibly via Horn Hill and the Wall. While Sam’s venture south has been one of my favourite storylines, and I’ve loved the Citadel setting, it’ll be good to see him back with some familiar faces… unless, that is, he runs into Euron while sailing north past Casterly Rock.

Anyway, with regard to the Motherfucking Bombshell™, it turns out that “Prince Ragger” had his marriage annulled and then married another woman, presumably Lyanna Stark. In which case, R+L=J is true, and Jon is the rightful heir to the Iron Throne. Of course, Bran probably knows all of this already, and we’re just waiting for the opportune moment for the reveal, which will likely be in the finale.

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Meanwhile, Jon and his allies sail to Eastwatch (the title sequence does a crazy rightwards pan from the Wall, which left me goggle-eyed), where the Fellowship of the Ring the Magnificent Seven is formed – oh, and some background extras. They set out to pursue the Stupidest Plan Ever™; at a guess, attempting to capture a wight is not going to go down well, at all. My guess is that Jorah won’t make it back, and that Beric, Thoros and Tormund will also die. Sandor’s still got a story left (Cleganebowl) so he can’t die, Jon is… well, Jon, and Gendry only just came back. Game of Thrones would surely never kill off a character in the episode immediately after they came back for the first time in three seasons…

Ahem. Osha would like to have a word with me.

So yeah, that’s about it. “Eastwatch” is a really solid episode with some great diplomacy, some high quality dialogue, and the promise of next week to live up to. Since Alan Taylor is directing this – his only episode of the season, I should add, and therefore one that seems likely to be pretty GOAT. I’m expecting big things. IMDb 10/10 rating. And for once, I think we’ll get them. This one looks to be Hardhome 2.0, even if the trailer isn’t giving anything away. And since it’s 71 minutes long, I’m looking forward to big developments in the other Seven Kingdoms, not just North of the Wall.

P.S. HBO, bring this Matt Shakman bloke back next year. Turns out he’s pretty good.

P.P.S. We don’t know the next episode title yet, but it’d better be “Wight Night”, or “Hardhome 2: Electric Boogaloo”, or for a more realistic guess, “The Night King”.

Review: Game of Thrones, Season 7, Episode 3, “The Queen’s Justice”

This review contains SPOILERS for the third episode of Season 7 of Game of Thrones entitled “The Queen’s Justice”, and for all episodes preceding it, and for the A Song of Ice and Fire series of books by George R.R. Martin, up to and including sample chapters from The Winds of Winter.

Probably the fastest-paced episode of Game of Thrones yet, “The Queen’s Justice” is an episode full of big moments that really emphasises the changes in David Benioff and D.B. Weiss’s priorities as writers. Continuity and timelines have ceased to exist, in favour of getting to the meat of things. I think, in this regard, Benioff and Weiss have finally resolved the narrative problems that plagued Seasons 5 and 6: a lack of certainty over whether Game of Thrones should retain its usual slow dramatic pacing, or move on into a different type of storytelling entirely.

That being said, this ‘new era’ of Thrones is not entirely new. Indeed, the current season’s pacing can be likened to Season 1, albeit with a few more logical inconsistencies. But even then, its refreshing to have reached what seems to be a definite midpoint by the end of episode 3. Had these storylines been taking place last year, we’d be up to episode 5 or 6 by now.

“The Queen’s Justice” chooses to tell its stories in big, blocky chunks, a structure that has become characteristic of Benioff and Weiss’s writing. In the case of this episode, I think that was the right decision. Narratively, the whole thing holds together very well. However, the whole episode is underscored by a sort of staleness. You know that the writing could be better, but it isn’t. Don’t get me wrong, it’s still one of the best shows on TV, but the writing of individual scenes can be atrocious and there are some truly dreadful lines – from this episode, Euron’s crass “Does she like it gentle or rough? A finger in the bum?” was particularly abrasive.

It may sound like I am being unecessarily harsh here. I enjoyed “The Queen’s Justice”, and objectively it was the strongest episode of the season, but it did feel a little sketchy in places. Every scene had something slightly off about it, be it the actors’ performances (a couple were shaky this week), the directing, or the writing itself. There was, however, one scene that was outstanding (so much so that I’ve italicised its sheer outstandingness), but I’ll come to that later.

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We’ll start with Dragonstone, which dominated the episode. I was pleasantly surprised that this instalment didn’t delay when it came to getting to the chewy bits. Tyrion and Jon have a reunion on the beach that serves as a ‘hype starter’ before the main course, somewhat mirroring Ned Stark and Robert Baratheon’s reunion in Season 1. Director Mark Mylod makes good use of the Gaztelugatxe staircase location, though Jon and Davos’s ground dive seemed a little over-comical, and can’t have done much for the reputation of the King of the North. They then go to the throne room, where Jon and Dany are finally in the same room, and…

…it’s a little underwhelming, actually. It’s a great set, and a scene of huge significance, but for some reason it never really clicks. Mylod doesn’t really use the space well, and the actors and camera are both completely static. An empty mood isn’t really what I wanted for the first meeting of the ‘golden trio’. Oddly enough, none of the three ‘main’ performers play the scene particularly well; instead, it is Liam Cunningham who is standout as professional hype man Davos Seaworth. Missandei lists all of Dany’s titles, to which he seriously replies, “This is Jon Snow”, dialogue which serves to highlight the differences between the two rulers. The dialogue is mostly quite good on the face of things, though there are little irksome moments that validate a claim that “the show isn’t what it used to be” – the ‘figure of speech’ joke doesn’t really work, and no one appears to have told Peter Dinklage that his lines don’t always need to be funny. Also, in places it feels like Dany is spinning the same “I am the queen” yarn for the ten thousandth time, which doesn’t come across well.

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However, the real kicker of the Dragonstone scenes is that Emilia Clarke and Kit Harrington have unexpectedly poor screen chemistry. Mark Mylod doesn’t help this by constantly framing their scenes in a bland shot-reverse-shot formula, which means that the two are hardly ever in the frame at the same time. The result is that it seems like Jon Snow – still wearing his Northern clothes, which doesn’t help – has been Photoshopped into Dragonstone, but isn’t really there. On the other hand, Harrington and Dinklage have great chemistry, and their scenes were a joy to watch, though Tyrion still suffers from a sort of “my lines are always funny” syndrome.

Moving over to King’s Landing: there’s a slightly cheesy sequence with Euron, but everything with Euron is slightly surreal and cheesy, and that’s what I like about him, honestly. I’m never quite sure whether his lines are intentionally atrocious, but Pilou Asbaek sells it. The scene with Cersei and Ellaria is one of the best of the episodes, with the underrated Indira Varma perfectly matched and contrasting Headey’s Cersei. It’s a dark, tense scene, ultimately poetic if not wholly unexpected, and I have to applaud Benioff and Weiss for not succumbing to Gregor-Clegane-based bloodlust. This is something that could come straight out of Martin’s novels, and I mean that as high praise. There are two more scenes in King’s Landing – the Jaime and Cersei sex scene, where Cersei ironically becomes the only person in the episode to willingly kneel, and then the Iron Bank scene, where Mark Gatiss smoothly tells Cersei that she needs to pay back her loans. Honestly, I wasn’t paying much attention beyond trying to think up nonsensical Gatiss-based puns: “oh, you’re in the Great Game now”, “you’ll sleep no more after this”, “she’s a real crimson horror”, and so forth.

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On to Winterfell. I think Sophie Turner is best in scenes like these, and Sansa seems to be back on a (mostly) stable character arc. Littlefinger, meanwhile, is a bit all over the place. D & D seem to have taken the description of him from the Honest Trailer – “the sneaky dude” – and have gone a bit too far with it. He’s also now “the monologue guy”, delivering a speech about Sansa fighting every battle in her mind, which sounds good in a trailer, but within the episode it seems to come out of nowhere. I think Littlefinger’s ‘great-game-based’ speech might be some sort of big thematic link across the episode, but I didn’t really pick it out here. Then he slithers off creepily back to his hole, leaving his motivations (or lack thereof) deliberately unclear. It’s all a bit weird.

Bran – not Arya – then turns up at Winterfell, which would have been a surprise if I hadn’t watched the credits sequence. Meera’s also there, looking in sore need of therapy and a spa day. Again, Turner seems to play this scene well, but someone seems to have told Isaac Hempstead-Wright that the best thing to do would be to stare distantly into space all the time. Which works fine for the three-eyed raven, but it’s a disservice to the years he spent as an actual human character called Bran Stark. Indeed, Bran doesn’t seem to really exist any more, only some weird kid with no conversational skills, which is saddening really, given how much development he’s gone through over the years. And frankly, I don’t see why Bran has been entirely consumed by mysticism. He’s still Bran, isn’t he? Isn’t he?

S07E03 Sansa and LF.jpgThere’s a brief interlude at the Citadel, which doesn’t really do much other than confirm the events of last week – a somewhat disappointing conclusion to Jorah’s greyscale arc – but I wonder if Sam might find something about the white walkers in all those papers. The episode’s concluding sequence takes us to Casterly Rock, where ‘everyone’s least favourite part of Team Dany’, the dull Grey Worm, manages a conquest of the Rock. I have several issues with the fact that the Lannisters seem to have left behind only a skeleton garrison, most notably for the implications on Lannister prestige and morale that the fall of the Rock will have. I saw the sewer conquest coming, but it was the right way to conclude this arc, and I found Tyrion’s voice-over to be an effective way of linking this isolated conquest back to the episode’s main narrative. Even so, the scene felt somewhat underwhelming, given how hyped I was about Casterly Rock, and the Unsullied charging in with their spears in narrow passages was quite irritating. As for Euron’s sudden arrival… well, I’ve given up trying to understand the passage of time in Game of Thrones.

We then cut to Highgarden, where Jaime, Randyll Tarly, Bronn, and Randyll’s goat-faced son (sorry, but he just looks like a massive twat) take the castle in an easy conquest. Mark Mylod is consistently very good at tracking shots, and the one that takes Jaime from the castle gates up to Olenna’s solar is one of my favourites.

S07E03 Grey Worm.jpgHowever, things really get going in the final scene of the episode. And I say this honestly: I think the final scene of “The Queen’s Justice” is probably the best dialogue scene since Robert and Cersei in “The Wolf and the Lion”, or possibly even better. Dame Diana Rigg proves one last time why she is an international treasure, with a single-scene performance that encapsulates Olenna Tyrell’s character in a neat, final summary. It’s exquisite to watch, and though Nikolaj Coster-Waldau plays second fiddle, the man’s reactions are legendary. You can see the horror in his eyes when Olenna tells him the truth, as he realises that nearly every event since Joffrey’s death is the result of her machinations. Should he just run her through with his sword? Yes, perhaps he should, but that would only consolidate Olenna’s victory in a moment that is just that – her final, pyrrhic victory over Cersei Lannister. She has driven a wedge between the Lannister siblings at last, and I hope this finally marks the start of Jaime’s long-delayed redemption arc. This part of the episode feels like it was written by someone else entirely. “Tell Cersei I want her to know it was me.” That is one hell of a line, and the weight of the implications it carries… it is one final thorn in the lion’s paw, and this may be the one that kills it. This is the queen’s justice, indeed. And yes, Olenna Tyrell dies, but in doing so, she denies the old adage from Season 1.

Because Olenna Tyrell dies, but Olenna Tyrell wins.

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Notes and Side Bits:

The biggest weakness of this episode is that Benioff and Weiss fall into the mentality of telling rather than showing. One of the few things I hate about Thrones (and this is the book elitist in me speaking) is that it constantly assumes its viewers are stupid. Obviously, this is necessary for the casual audience who don’t remember events from “The Mountain and the Viper” and “Mother’s Mercy”, but it’s still bloody irritating. Callbacks should be a treat for the astute viewer, not some big red button blaring on and off, going “DO YOU REMEMBER THIS?” Also, D & D have an irritating inability to write inferred dialogue. Everything has to be said out loud; they don’t trust their audience to make any sort of intelligent assumptions based on what they’ve seen. This is a two-way street, you know – otherwise it’s not going to be long before we get lines like “I’m Arya Stark, your sister from Season 1.”

I loved the end credits theme, a new rendition of “The Rains of Castamere”. RoC always gets me in the mood.

Mylod was alright this episode, but I thought his work was stronger on “Stormborn”. The episode ends on a weird wide shot that is held for a couple of seconds too long to let the RoC motif play out. I think an Olenna close-up would have suited better, but choosing to show Jaime’s departure from the room means Mylod has to switch to the wide.

The best acting this episode comes courtesy of Dame Diana Rigg as Olenna Tyrell, of course. Nikolaj Coster-Waldau (Jaime Lannister) was also very good, and Peter Dinklage (Tyrion Lannister) had his finest performance in ages.